Говард Голдблатт - Chairman Mao Would Not Be Amused - Fiction From Today`s China [редактор Говард Голдблатт]

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From Publishers Weekly
In contrast to the utopian official literature of Communist China, the stories in this wide-ranging collection marshal wry humor, entangled sex, urban alienation, nasty village politics and frequent violence. Translated ably enough to keep up with the colloquial tone, most tales are told with straightforward familiarity, drawing readers into small communities and personal histories that are anything but heroic. "The Brothers Shu," by Su Tong (Raise the Red Lantern), is an urban tale of young lust and sibling rivalry in a sordid neighborhood around the ironically named Fragrant Cedar Street. That story's earthiness is matched by Wang Xiangfu's folksy "Fritter Hollow Chronicles," about peasants' vendettas and local politics, and by "The Cure," by Mo Yan (Red Sorghum; The Garlic Ballads), which details the fringe benefits of an execution. Personal alienation and disaffection are as likely to appear in stories with rural settings (Li Rui's "Sham Marriage") as they are to poison the lives of urban characters (Chen Cun's "Footsteps on the Roof"). Comedy takes an elegant and elaborate form in "A String of Choices," Wang Meng's tale of a toothache cure, and it assumes the burlesque of small-town propaganda fodder in Li Xiao's "Grass on the Rooftop." Editor Goldblatt has chosen not to expand the contributors' biographies or elaborate on the collection's post-Tiananmen context. He lets the stories speak for themselves, which, fortunately, they do, quietly and effectively.
From Library Journal
The 20 authors represented here range from Wang Meng, the former minister of culture, to Su Tong, whose Raise the Red Lantern has been immortalized on screen.
***
Chinese literature has changed drastically in the past thirty years. During the Cultural Revolution (1966-1976) arts and literature of all sorts were virtually nonexistent since they were frowned upon by official powers so that attempts to produce any were apt to cause one’s public humiliation and possibly even death by the Red Guards and other unofficial arms of the government. After 1976, in the wake of Mao’s death, literature slowly regained its importance in China, and by the mid-1980s dark, angry, satirical writings had become quite prominent on the mainland.
In the wake of Tiananmen Square, dark literature faded somewhat, but never vanished. Now Howard Goldblatt, a prominent translator of Chinese fiction and editor of the critical magazine Modern Chinese Literature, has compiled a representative collection of contemporary Chinese fiction entitled Chairman Mao Would Not Be Amused. Even with my limited knowledge of modern China I feel certain the title of the book is fairly accurate.
Mo Yan is one of my favorite contemporary writers. His dark, no-holds-barred satires Red Sorghum and The Garlic Ballads detailed what he sees as the failings of both Chinese peasants (of which he was born as one) and the Chinese leaders. His short story "The Cure" is in the same vein, detailing how a local government representative-probably self-appointed during the Cultural Revolution, although that is never made quite clear in the story-leads a lynching of the village’s two most prominent leaders and their wives. But, as in most Mo Yan stories, the bitterness directed at the lyncher is double-edged with the bitter look at a local peasant who sees the deaths of the two village leaders as a desperate chance to possibly rescue his mother from impending blindness. The story is coldly realistic and totally chilling in the rational way it treats the series of events.
Su Tong is the author of the novella "Raise The Red Lantern", the basis of the wonderful movie. His "The Brothers Shu" is a bitter look at some traditional character weaknesses of Chinese people, and particularly how they affect family life. The Shu family is incredibly dysfunctional. The father nightly climbs up the side of his two-family house to have sex with the woman upstairs until her husband bolts her windows shut. So the woman sneaks downstairs to have sex in the younger son’s bedroom while the son is tied to his bed, gagged and blindfolded. Meanwhile the elder son abuses the girl upstairs until she falls in love with him. When she becomes pregnant, they are both so shamed they form a suicide pact, tie themselves together and jump into a river, where the boy is rescued in time but the girl dies. The younger son so hates his older brother-somewhat deservedly considering the abuse heaped on him by the brother-that he pours gasoline through his bedroom and sets it ablaze.
And so on, complete with beatings and torments worthy of the most dysfunctional American families. While not a particularly likeable cast of characters, the story is strong and thoughtful.
Perhaps the most moving part about "First Person", by Shi Tiesheng is in the brief author description in the back of the book. Shi is described as “crippled during the Cultural Revolution”. So many lives were needlessly destroyed during that tumultuous decade, it is easy to feel that the arrest and subsequent conviction of the notorious Gang of Four was not nearly sufficient punishment for them.
"First Person" tells the story of a man with a heart condition-Shi frequently writes about the lives of handicapped people, according to his description-who is visiting his new 21st floor apartment for the first time. While climbing the stairs very slowly, taking frequent rests, he notices a cemetery separated from the apartment building by a huge wall. On one side of the wall is sitting a woman, while on the other side stands a man. As the man climbs the stairs he fantasizes about why the couple are there, and why they are separated by the wall. Perhaps the man is having an affair, and the wife is spying on him as he rendezvous with his lover?
But then the man notices a baby lying on a gravesite, being watched from a distance by the man, and he realizes that the couple is abandoning the child. An interesting story about the fanciful delusions a person can have, but with no real depth beyond that.
Two stories involve fear of dentists in completely different ways. Wang Meng’s "A String of Choices" is a very funny story that combines a bitter look at both Eastern and Western medicine with perhaps the most extreme case of fear of dentists imaginable. Chen Ran’s "Sunshine Between the Lips" tells of a young girl whose adult male friend exposes himself to her. If that were not traumatic enough, after he is arrested for exposing himself to a complete stranger, he sets his apartment on fire and dies a brutal death. This event, combined with a near-fatal bout of meningitis, creates in the girl a deep fear of phallic objects such as needles and penises. So imagine her trauma when she develops impacted wisdom teeth at the same time as she gets married. While this description might sound a bit ludicrous, this story is very serious and very well-executed.
A strong satire on how history can be rewritten to suit the writers’ needs is Li Xiao’s "Grass on the Rooftop". When a peasant’s hut goes on fire, he is rescued by a local student. The rescue is written up for an elementary school newspaper by a local child, but the story is picked up by other papers, changing radically with each reprinting until the rescuing student becomes a great hero of the Maoist revolution because of his supposed attempt to rescue a nonexistent portrait of Mao on the wall of the hut. While this story is uniquely Chinese in many ways, it resonates in all societies in which pride and agenda is often more important than the truth.
Anybody interested in a look at contemporary Chinese society should enjoy this collection immensely.

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We have stumbled into the Bronze Age!

It is all I can do to keep from shouting. The resident expert has yet to speak. He covers his nose with his hand, frowning, thinking, as history rests quietly, waiting for his verdict.

Western Xia, Yin, Shang? Spring and Autumn period, Warring States? Each fabulously distant and remarkable.

"A Han grave," Old Wu announces solemnly.

I breathe a heartfelt sigh and bend respectfully toward the sleeping brass lion, only to hear Old Wu rebuke me: "Don't touch it!"

I withdraw my hand, sobered by the singular wonder of this event.

"What does it mean?" he asks.

From deep in my pant pocket, I pull out a watch with a cracked crystal.

"Ten oh-three. Note this time." Old Wu is quite solemn.

But reality drags us back to the present.

Master mason Yellow Hair is shouting at us from the opposite slope. The Farm Headquarters boss may be on patrol, and though it puts a damper on things, we had best not linger. In any case, it is nearly quitting time. We slip back to camp.

Old Wu isn't old, nor does the five indicate that he is the fifth child. His name is Wu, and he is my age. Next to him, everyone appears a head shorter-of course, I am referring to physical stature. In terms of intelligence, I'd venture to say he surpasses us by more than a head. He is very bright-in astronomy, geography; in matters foreign or domestic. Everyone can benefit from his instruction. And those who refuse to believe him-someone like me, for instance-can never get him to change his side. In any event, here in the wilderness, where there are neither sages nor scholars, there is little harm in listening.

"How can you be so sure it's Han?" I have to ask.

"Aiiii-some ancestor of the Yellow Emperor you turn out to be! The Bronze Age did not achieve aesthetic perfection until the Han. Everything declines when it reaches its peak-" He is about to elaborate.

"Shhhh. Do you want to lose your head? There can be absolutely no casual talk about peaks." [4] [4] In the late 1960s, Lin Biao and Jiang Qing pronounced that Mao Zedong thought was the "peak" of Marxist-Leninist ideology.

"Yes, yes." Ever vigilant, he agrees that his choice of words was imprudent; then, glancing about, he begins again. "After the Bronze Age, stone was the vogue, up until Wei and Jin, when stone carvings reached their, uh-you know what. The Tang had three-color glazes, as did the Song."

I earnestly accept the wisdom imparted from his lips. Still, I don't think I'm stupid, and I read a fair amount in my spare time. I cannot help being skeptical. The Han was a remarkable dynasty, but back in those days Hainan lay beyond Chinese cultural influence. Of the earlier generations who traveled to the edges of the Celestial Kingdom, I knew only of Li Deyu of the Tang, Su Dongpo of the Song, and Huang Daopo of the Yuan. And the Hainan native Hai Rui did not appear until the Ming.

"Not true," he says. "There was also the illustrious Madame Xi, the female warrior of the Northern and Southern dynasties."

Maybe so, but the distance between the Northern and Southern dynasties and the Han is the thickness of Tales of the Three Kingdoms -all 120 chapters' worth!

He persists in his rebuttals. "Although Emperor Han Wudi lacked for literary talent, when it came to military prowess, he lacked for naught. Under heaven, no spot was unclaimed by this emperor; from shore to shore, no prince failed to pay fealty." Observing that I refuse to alter my foolish notions, he points out with some irony the absurdity of my logic: why must I always think of history in terms of famous people? Those old bones, whether of a local tyrant or evil gentry-had to be a dull fellow. Don't hope to find his chronicle in the annals of officialdom, published or otherwise. Number Five certainly deserves his reputation. I ponder a while longer, then relax.

This round of academic contention brings out other emotions in me. Our nation is indeed amazing. Any ancestral grave one treads upon can be traced back hundreds of generations. Take the thatched hut we live in, for example; six or seven thousand years ago, the people of Banpo village built their huts in the very same style-a civilization ancient enough to make one sigh in wonder.

The scaffolding shakes, and we are quiet. But the person who shows up turns out to be Yellow Hair. One of our own. He drops the weighted plumb line over the corner of the wall, then squints down and swears, using all his might to pry off one stone that protrudes prominently from the others.

If Yellow Hair has it in for Old Wu, it is because the latter is a loafer. And really, given half a chance to loaf, who wouldn't take it? When it's almost time for the bell to ring, there seems little point in being so diligent. It is not as if this structure will someday house people; it is going to be a meeting hall. We will continue to live in thatched huts. And while no one can dispute the fact that meetings are more important than sleep, on the other hand, there seems little danger that a column will come crashing down in the midst of a struggle session on account of a misplaced stone. This job is appropriate compensation for Old Wu, I kid him, because he has for years written political essays, beautiful works that he recites with great verve. A bit of Marx, Engels, Stalin, and Mao; of landlords, wealthy peasants, reactionaries, bad elements, and rightists-there is something in his speeches for everyone, and so naturally his audience resounds with animated shouts of support. After each meeting, he routinely crumples the perfectly crafted manuscript into a ball, which he tosses atop his mosquito netting to await appropriate use the next time he visits the pit that serves as the gentlemen's lavatory.

Old Wu has grown indignant, and in order to avoid a quarrel, I try to tell Yellow Hair that we weren't in the mood for work a moment ago, which is why the stone was not in place. Yellow Hair' eyes widen. Before I can finish my sentence, he takes hold of the rope on which the pipes are hung and slithers to the ground.

Yellow Hair is, of course, also a nickname. His hair is a yellow ish brown. We have yet to learn if this is a genetic trait that has been passed down over the years or evidence that he offended his ancestors. In fact, he is of pure Chinese extraction, last in the line of several generations of master masons. Even after traveling to the South Seas, he was not able to cast off his legacy, for he became the master mason of our construction group.

The bell rings. Still no sight of Yellow Hair on the opposite slope. Strange. Then, in a moment, he arrives with a face as black as india ink and, out of the blue, begins swearing: "Are you playing games with me? Just watch me plaster your mouth shut with a bucketful of mortar!"

What has happened? We sense immediately that something is wrong. The ghost grave hasn't got a damn thing in it. Even the bones have rotted into thin air.

We look at one another for a moment, but Old Wu is quickest: "It's them!"

Them. A complete mystery.

They are from the mainland, the Leizhou Peninsula. I was there once visiting relatives: barren soil as far as the eye could see, bringing to mind the saying red earth for a thousand miles. Here the soil is rich and black, yielding bricks as light and porous as steamed yeast cakes. Fortunately, there are rock formations in the mountains with such a good grain that in cutting them out, one has only to drive in a wedge to pull out neat square blocks. On the surface, it looks easy enough, but there's a trick to it, and no one at our farm can manage it.

They are strangers here and, as strangers, have yet to communicate with anyone outside their group, although the sounds of pounding echo in our respective camps. I have never been able to get a head count, but there must be six or seven of them. To me, they all look alike: jet-black faces with no more than a few ounces of flesh, their arms nevertheless thick from wielding a sledgehammer. They have their own language. The difficulty of the Leizhou linguistic family has stymied even the linguistically gifted Wu. A clan unto themselves. Though our brigade has empty huts to spare, they insist on pitching their own camp; our brigade has an eating hall, but they prefer to choke on the smoke of their cooking fires, stubbornly preserving their self-contained society. They know only work, with one exception. When the occasional young peasant woman makes her way to the rice fields, they come to life, first staring, then talking softly, perhaps in an exchange of opinions. Though the odds of viewing educated young women, who leave like clockwork at dawn and return at dusk, are greater, the stonecutters dare not take liberties-their eyelids never budge. While phoenixes may not be as valuable as chickens here in the wilderness, surely the cutters should allow themselves to take a glance or two.

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